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dc.contributor.authorMurphy, Scott
dc.date.accessioned2012-06-18T17:09:38Z
dc.date.available2012-06-18T17:09:38Z
dc.date.issued2008-09
dc.identifier.citationMurphy, Scott. A Composite Approach to Ives' "Cage". Twentieth Century Music 5:2 (September 2008) p. 179-193. http://dx.doi.org/10.1017/S1478572209990041
dc.identifier.urihttp://hdl.handle.net/1808/9915
dc.descriptionThis is the published version.
dc.description.abstractIn his book "A Union of Diversities," Larry Starr's analysis of Charles Ives' "The Cage" contrasts with most readings of the song in that he focuses on how the points of congruence between the highly dissimilar vocal and piano parts form a "powerful unity" but provides no specific analytical method for examining this unity more closely. A study is presented that offers one such method for "The Cage," revealing a path within a virtual, bounded space that correlates with some of the syntactic and semantic aspects of the song's text. The author shows how these syntactic correlations also hold true in a similar passage in Ives' song "Majority."
dc.publisherCambridge University Press
dc.titleA Composite Approach to Ives' "Cage"
dc.typeArticle
kusw.kuauthorMurphy, Scott
kusw.kudepartmentMusic
kusw.oastatusfullparticipation
dc.identifier.doi10.1017/S1478572209990041
kusw.oaversionScholarly/refereed, publisher version
kusw.oapolicyThis item meets KU Open Access policy criteria.
dc.rights.accessrightsopenAccess


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